R81S 
1892 


UC-NRLF 


EbO    55M 


How  snail  I  Practice  ? 


ROSEWALO 


xL) 
CJ 


LIBRARY 

OF  THE 

UNIVERSITY  OF  CALIFORNIA. 

GIF"T_pK 

tgj& 


Received 

Accession  No. 


,    189        . 

l^s^ 

Class  No.     -R  _ 

^>\%> 


HOW  SHALL  I  PRACTICE  ? 


How  SHALL  I  PRACTICE? 


PRACTICAL  SUGGESTIONS  TO  STUDENTS 
OF  VOCAL  MUSIC 


BY 

JULIE  ROSEWALD 


••• 

Second  E&ition 


SAN  FRANCISCO 

THE  BANCROFT  COMPANY 
1892 


•*• 

Copyright,  1891,  by  Julie  Rosewald 


THE  SAN  FRANCISCO  PRINTING  CO. 
41 1  MARKET  ST.,  s.  F. 


I  beg  to  return  sincere  thanks  to  my 
pupils  and  to  the  musical  public  for 
the  kind  manner  in  which  this  little 
volume  has  been  received  and  which 
warrants  the  issuance  of  this  second 
edition. 

JULIE  ROSEWALD. 


HOW  SHALL  I   PRACTICE? 

O  the  many  who  earnestly 
ask  this  question,  and  to 
such  of  my  pupils  who,  when  at 
home,  desire  to  review  the  oral  lessons 
received  from  me,  and  thus  have  my 
elementary  instructions  always  within 
reach,  this  little  book  is  respectfully 
dedicated. 

JULIE  ROSEWALD. 

San  Francisco, 
June,  . 


TJITIVBRSIT7 


INTRODUCTION   I   I   : 

"HEN  SCIENCE  gave  us 
the  laryngoscope  (throat 
mirror)  it  granted  us  the  blessed 
possibility  of  restoring  a  diseased  vocal 
organ,  of  improving  the  abnormal 
condition  of  the  larynx,  pharynx, 
trachea  or  nose,  and  in  many  instances 
the  means  of  preserving  the  voice.  As 
science,  however,  has  shed  but  a  dim 
light  on  the  method  of  producing  a 
good  tone  in  the  human  voice,  we 
can  be  guided  only  by  satisfactory 
practical  results,  obtained  in  the  teach- 
ings of  this  most  empyrical  of  arts. 
This  wonderful  age  of  progress  has  not 
given  us  any  lightning  process,  by 
means  of  which  a  voice  can  be 
developed,  we  must  therefore,  continue 


8  HOW   SHAI/L,   I   PRACTICE  ? 

to  abide  by  the  fact,  as  did  the  old 
Italian  masters,  that  good  singing 
is  mainly  dependant  upon  long  and 
patient  study,  and  earnest  practice. 
In  this  little  work  I  will  endeavor  to 
illustrate  ''How  TO  PRACTICE, "  so  as 
to  acquire  that  most  essential  part  in 
good  singing — a  pure  tone.  These 
suggestions  are  based  upon  the  teach- 
ings of  eminent  masters  abroad,  and 
upon  my  personal  experience,  as  an 
instructor. 

J.  R. 


HOW  SHALL  I  PRACTICE? 

Ordinarily,  the  pupil  receives  from 
*  her  teacher,  a  volume  of  the  many 
so-called  '  'vocal  methods, ' '  that  contain 
nothing  however,  but  a  number  of 
Solfeggi  and  Vocalises,  and  not  one 
syllable  regarding  the  most  important 
point,  how  to  form  a  tone. 

The  pupil  begins  to  sing  the  pre- 
scribed exercises,  and  after  a  brief 
time,  grows  annoyed,  and  flurried  at 
discovering  that  almost  every  two  tones 
in  her  voice,  are  of  a  different  timbre, 
the  one,  throaty,  another  nasal,  and 
still  another  wheezy.  In  fact,  her  voice 
is  not  ready  for  the  Exercises  in 
the  Vocal  Method,  and  virtually  are 
intended  for  voices  with  tones  tolerably 

*  As  I  have  always  declined  to  train  male  voices,  I 
make  vise  of  the  feminine  gender  throughout  these  pages 
when  referring  to  the  pupil. 


12  HOW   SHAI.I,   I   PRACTICE? 

even — how  rare,  alas!  are  such  voices! 
The  pupil  then  provides  herself  with 
various  works  on  the  voice,  written 
by  physicians,  or  perhaps  teachers, 
widely  differing  in  their  views,  and 
in  some  cases,  flatly  contradicting  each 
other,  regarding  the  theory  of  singing. 
As  a  rule,  these  works  inform  the 
student  what  faults  to  combat,  or 
what  results  to  strive  for,  but  give 
no  practical  explanation,  how  to  avoid 
the  former,  or  to  attain  the  latter. 
The  reader  becomes  acquainted  with 
the  technical  names  and  the  relative 
positions  and  duties  of  the  throat  mus- 
cles, and  even  finds  herself  advised 
by  some  authorities  to  practice  with 
the  laryngoscope.  However  as  "a  little 
knowledge  is  a  dangerous  thing,"  the 
student  should  refrain  from  making 
any  practical  physiological  experiments 
that  may  result  in  habitual  muscular 
efforts,  whilst  singing. 


HOW   SHAIvI,   I   PRACTICE?  13 

Stockhausen,  and  some  other  authors 
say,  that  with  each  ascending  tone, 
the  larynx  perceptibly  rises,  and  vice 
versa  with  descending  tones.  *  Acting 
upon  this  suggestion,  the  student  tries 
to  raise  or  lower  her  larynx  at  will 
in  ascending  or  descending  the  scale, 
until  her  muscles  fairly  ache.  Now, 
were  it  possible  to  Jeel  the  rising  of 
the  larynx  at  each  ascending  tone, 
where  would  it  reach  at  the  end  of  our 
compass,  say  two  octaves  ?  Furthermore, 
inasmuch  as  the  larnyx  is  connected 
with  the  tongue-bone,  the  tongue 
would  naturally  also  move  along,  as 
the  larynx  rises.  The  deceptive  move- 
ment left  is  the  protrusion  of  the  front 
angle  of  the  shield  cartilage  (Adam's 
apple)  caused  by  the  elongation  of 
the  vocal  chords,  when  singing  the 
ascending  scale.  The  foolish  practice 

*  In  ascending  tones,  one  is  led  to  suppose  that  the 
larynx  rises.  As  yet,  no  one  however,  has  been  able  to- 
give  a  reliable  explanation  of  the  same.  (I^ANDOIS— 
Lehrbuch  der  Physiologic,  1891). 


14  HOW   SHAI/L   I   PRACTICE? 

of  trying  to  feel  the  action  of  the 
throat,  is  the  greatest  detriment  to  the 
voice.  The  only  distinct  sensation  in 
the  throat  during  the  act  of  singing 
should  be  a  gentle  closing  (not  a 
"shock")  of  the  glottis,  and  that  only 
during  the  attack  of  a  word  beginning 
with  a  vowel.  The  pupil  should 
rather  try  to  forget  her  throat  for  the 
time  being.  Singers  often  complain 
that  their  throats  ache,  perhaps  after 
having  used  the  voice  for  a  few 
moments  only.  Why  ?  Because  they 
sing  unnaturally,  and  lack  proper 
training. 


Most  voices  require  careful  prepara- 
tion for  the  production  of  single  tones 
and  certainly  for  the  singing  of  scales, 
arpeggios  and  other  florid  passages, 
and  no  capable  teacher  will  begin 


I   PRACTICE  ? 


instructions  by  requiring  the  latter  from 
the  pupil. 

Voices  should  be  treated  according 
to  their  individualities,  and  not  be 
collectively  dosed  with  one  and  the 
same  formula  of  exercises.  As  well 
may  we  expect  a  certain  recipe  in  the 
Pharmacopoeia,  to  suffice  for  all  the 
ills  and  ailments  of  humanity. 


DEFECTIVE   TONES 


D1 


lEFECTlVE  tones  in  the 
voice  may  be  attributed 
to  various  causes.  Upon  discover- 
ing an  imperfect  or  a  defective  tone 
your  teacher  will  examine  your 
tonsils  and  palate,  and  should  either 
of  these  be  of  an  abnormal  size,  a 
good  tone  will  be  a  physical  impos- 
sibility. Your  "breathing  through  the 
nose"  should  also  be  tested.  If  there 


I  6  HOW   SHAU,   I   PRACTICE  ? 

be  any  obstruction  (and  in  this  climate 
many  persons  suffer  from  this)  it 
should  at  once  be  removed,  as  a  free 
air-passage  through  the  nose  is  indis- 
pensable. Without  it  good  singing  is 
impossible.  In  all  such  and  similar 
ailments  consult  a  reliable,  skillful 
specialist,  who  has  made  the  throat 
and  its  diseases  a  life's  study.  Your 
teacher's  practiced  ear,  will  also 
detect  the  slightest  hoarseness,  imper- 
ceptible perhaps  to  yourself.  In  such 
a  case  stop  singing  at  once,  rest 
your  voice,  and  in  a  day  or  two  you 
will  probably  find  it  restored  to  its 
former  good  condition.  Straining  the 
voice  only  a  single  time  may  effect 
nature's  precious  gift  most  .seriously : 
and  a  damaged  voice  cannot  be  replaced 
by  a  new  one  as  easily  as  can  a 
piano  or  some  other  musical  instrument. 
Nor  can  a  voice  be  made  or  built  any 
more  than  you  can  learn  to  play  the 


HOW   SHAUv   I    PRACTICE  ?  I  7 

piano  by  practicing  on  a  kitchen 
table.  You  must  have  the  instrument. 
Accepting  this  fact,  that  you  have  your 
instrument  (the  voice)  in  perfect  con- 
dition, begin  your  tone  studies. 


TONE    PRODUCTION 

C^OOD  Tone  Production  de- 
pends, as  is  well  known, 
upon  a  perfect  control  of  the  breath, 
and  of  the  muscles,  that  serve  this 
purpose.  Learn  to  concentrate  your 
breath,  so  that  you  can  with  will 
(not  with  throat-power)  send  it  in 
the  shape  of  a  slender  air  column 
through  the  resonance  chambers  to 
the  sounding  board  (the  hard  palate 
and  upper  teeth).  Of  the  many 
methods  of  breathing  suggested  by 
various  authorities,  experience  has 
taught  me  that  the  following  is  the 


jg  HOW   SHAU,   I    PRACTICE? 

most  rational  :  Breathe  naturally,  like 
a  man  or  an  infant  whose  ribs  have 
never  been  compressed  by  stays.  The 
following  first  breathing  exercise  will 
demonstrate  this. 


BREATHING    EXERCISE 

IIVESTED  of  your  stays 
and  with  loose  clothing, 
assume  a  recumbent  position,  without 
a  pillow,  so  that  your  shoulder  blades 
strike  a  flat  surface.  Place  one  hand 
on  your  lower  ribs,  the  other  on 
your  diaphragm,  and  gently  inhale 
(through  the  nose)  an  imaginary,  or 
if  on  hand  a  real  perfume.  You  will 
feel  that  the  muscles  between  the 
ribs  and  the  lungs  are  pushing  the 
ribs  sideways,  thus  giving  the  lungs 
room  to  expand.  Simultaneously,  the 
diaphragm  will  move  downwards 


HOW   SHAU,   I    PRACTICE?  1 9 

(pointedly,  like  an  inverted  lid), 
towards  the  intestines,  leaving  ad- 
ditional space  for  the  lungs  to  ex- 
pand in  this  direction  also.  Having 
thus  rilled  the  lungs,  by  means  of 
combined  rib  and  diaphragm  breath- 
ing, which  should  be  perfectly  noise- 
less, and  without  the  aid  of  the 
collar-bone,  see  that  you  keep  ribs 
and  diaphragm  absolutely  quiet,  until 
you  have  counted  ten.  Then  exhale 
suddenly,  and  you  will  feel  the  re- 
action. Repeat  this  five  or  six  times, 
holding  your  breath  at  each  repetition 
one  second  longer  than  you  did  the 
previous  time.  Then  repeat  this  en- 
tire exercise  in  an  upright  position. 
In  a  few  days  you  will  be  able 
to  go  through  this  breathing  exercise 
when  fully  dressed  and  wearing  your 
stays,  remembering,  however,  that  the 
latter  should  be  worn  at  all  times 


2Q  HOW   SHAIvIv  I   PRACTICE  ? 

as    loosely    as    possible,     and    fastened 
merely   with    an   elastic   cord. 


SINGING  EXERCISE 


HEN  singing  practice  is 
begun,  breathe  in  the 
same  manner  as  above,  thus  utilizing 
your  first  breathing  lesson.  This 
mode  of  breathing  will  in  itself  open 
your  throat  as  desired.  Keep  the 
throat  perfectly  still ;  let  the  neces- 
sary breath  float  through,  and  whis- 
per* "ah"  three  times,  then  sing  it 
three  times,  then  again  whisper  it  the 
same  number  of  times,  all  in  one 
breath.  Use  the  same  mechanism  in 
singing  as  you  do  in  whispering, 
shaping  the  vowel  first,  without  mak- 

NOTE— *There  is  less  danger  of  throat  contraction  in 
whispering  than  there  is  even  in  speaking,  and  it  will 
prove  just  as  effective  in  giving  the  correct  shape  and 
position  to  the  different  organs  of  speech  for  the  enun- 
ciation tf  any  vowel  required. 


HOW   SHALI,    I    PRACTICE  ?  21 

ing  any  further  muscular  motion, 
either  with  the  throat,  jaw  or  tongue. 
Do  not  permit  the  tone  to  escape 
straight  through  the  mouth,  but  aim 
diagonally  upivard  toward  the  front 
part  of  the  hard  palate,  without 
pushing  or  pressing.  Let  a  long, 
thin  air  current  touch,  that  part  of 
the  mouth  like  a  soft-arched  feather. 
Unless  carefully  watched,  the  dia- 
phragm will  collapse  (ascend),  by 
which  the  lungs  will  be  emptied  for- 
cibly and  the  air  escape  therefrom  un- 
vocalized.  In  such  a  case,  the  sound 
produced  will  be  tiny  and  wheezy. 


Having  now  learned  to  keep  the 
diaphragm  and  ribs  distended,  be 
careful  that  your  throat  also  keeps 
open  and  quiet,  avoiding  contraction 
of  the  strong  muscles.  This  will  be 


22  HOW   SHAI.lv   I   PRACTICE? 

accomplished  by  watching  your  work 
below  and  'above  the  larynx ;  below 
for  the  sustaining  of  breath,  above 
for  its  direction.  Use  the  throat  as 
an  air  passage  only,  and  bestow  your 
entire  attention  upon  the  placement  of 
your  tones.  At  this  point  you  should 
test  your  ability  of  sustaining  your 
breath  by  repeating  the  first  singing 
exercise  on 


against    a  hand   mirror,    the    surface  of 
which   should   remain  undimmed. 


Proceed  to  extend  the  range  of 
practice  by  whispering  and  singing  the 
same  vowel  A,  three  tones  ascending 
and  descending.  By  whispering  ah 


HOW   SHAU,   I    PRACTICE  ?  23 

in  an  upward  direction  and  then  im- 
mediately singing  the  same,  you  will 
obtain  the  correct  position  for  your 
tone.  You  will  learn  to  close  the 
glottis  gently  and  secure  a  good  at- 
tack. You  will  very  soon  grow  con- 
cious  of  these  results  by  practicing 
to  whisper  without  harshness,  words 
beginning  with  a  vowel,  as :  ever, 
under,  over,  etc.,  etc. 


Whisper  and  rapidly  speak  the 
syllables,  do,  re,  mi,  fa,  sol,  la. 

Then  sing  la  ah  naturally  as  you 
spoke,  on  the  same  pitch,  and  in  one 
breath.  Repeat  this  exercise  three 
times,  alternating  between  the  whisper- 
ing and  singing  in  one  breath,  making 
a  slight  pause  between  each.  This 
exercise  is  intended  to  illustrate  the 
fact  that  singing  should  simply  be 


24  HOW  SHAUv   I   PRACTICE  ? 

prolonged  speech  in  melodious  form,  and 
should  be  done  with  the  throat  open 
and  perfectly  relaxed,  with  deep  breath- 
ing and  with  the  tongue,  spoon-shaped 
limp,  and  flat  against  the  lower  front 
and  jaw7  teeth.  The  quantity  of  air 
coming  from  the  lungs  should  be  as 
small  as  .possible.  So  little  breath 
should  be  used,  that  it  would  almost 
seem,  as  if  it  were  coming  toward  you, 
whilst  singing.  Drink  it  in,  as  it  were, 
and  it  \vill  take  its  correct  shape. 


VOWELS 


^\  BOWELS  should  be  shaped 

spontaneously  by  a  quick 

action    of    the     mouth,     which    should 

however    remain    immovable    after   the 

sound  has  begun. 

Before  singing  a  vowel,   think  it,  and 
at  the  same  time  give  your  mouth  the 


I    PRACTICE?  25 


proper  shape  for  its  utterance,*  so  that 
an  observer  would  readily  be  able  to 
tell  what  vowel  you  are  about  to 
pronounce.  First  fotm  it,  then  speak 
it,  and  then  sing  it,  without  moving  a 
muscle  of  the  organs  of  speech.  Practice 
this  exercise  invariably  with  the  aid 
of  a  hand-mirror.  A  billiard  ball  whilst 
in  motion  cannot  be  struck  with  any 
certainty  as  to  the  course  it  will  take, 
nor  can  you  sing  whilst  your  mouth 
is  moving  to  shape  the  vowel.  It 
would  prevent  you  from  aiming  toward 
the  hard  palate  with  your  tone,  and 
this  you  must  necessarily  do,  for  if  the 
air-column  passes  straight  from  the 
mouth  over  the  tongue,  there  will  be 
no  concussion  and  consequently  no 
resonance  possible.  As  concussion, 
however,  causes  the  tone  to  rebound, 
you  must  aim  as  far  forward  as  possible 

NOTE.  —  *Without  this  the  acoustic  properties  of  the 
organs  of  speech  will  not  be  correct,  and  the  tone  impure. 
The  respective  parts  of  the  vocal  apparatus  must  act 
simultaneously. 


26  HOW   SHAI,!,   I    PRACTICE  ? 

against  the  hard  palate.  Should  it 
strike  the  soft  palate,  it  would 
rebound  too  far  and  assume  a  mushy, 
throaty  reflection.  L,et  the  breath, 
after  the  concussion  in  the  front  of 
the  mouth  has  taken  place,  float  there, 
coming  toward  you,  instead  of  pushing 
it  out.  This  will  cause  the  vibratory 
rings,  or  tone  waves,  to  spread  quickly, 
which  being  unimpeded  will  fill  the 
space  into  which  you  sing,  like  the 
rings  formed  by  throwing  a  stone  into 
water.  The  slightest  downward  pres- 
sure of  the  tongue-bone,  push  from 
the  throat,  or  collapse  of  the  diaphragm 
disturbs  the  perfect  shape  and  beauty 
of  the  tone- wave. 

When  a  vowel  sounds  pure  and 
natural,  gauge  others  by  it,  remember- 
ing that  all  the  other  vowels  on  the 
same  pitch  have  the  same  place  of 
touch . 


HOW   SHAI^Iy   I   PRACTICE  ?  2  7 

VOWELS 


With  their  Italian  Pronunciation 
A     as    in    father  —  tar 

E         ' '  pen  —  ten 

I  eel  —  knee 

O          "  go  —  know 

U         4 '  hoot —  shoe 


s 


THESE  VOWELS  in 
succession,  on  one  and 
the  same  pitch  and  with  the  same  tone 
quality.  Should  you  be  troubled  with 
throaty  or  nasal  tones  sing  the  vowels 
in  the  following  order  U-O-A-E-I 
however,  as  long  as  your  tone  remains 
throaty  avoid  the  A  in  its  broad 
Italian  pronunciation  (like  in  "father"^ 
but  practice  it  as  in  all  or  pall,  and 
then  by  degrees  change  it  into  the 
pure  ah. 


28 


HOW   SHAI,!,   I   PRACTICE  ? 


You  will  also  find  a  good  vowel 
study  in  Examples  A  and  B.  Sing 
A,  E,  I,  on  one  pitch  and  in  one 
breath,  in  successive  ttiads,  being 
careful,  however,  to  shape  the  mouth 
qtiickly  according  to  the  requirements 
of  the  respective  vowels,  but  without 
changing  the  tone  quality. 

EXAMPLE    A. 
^^^"  in  one  breath          ""--.^ 


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A     E      I       A     E 
EXAMPLE    B. 

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A      I      A        A        I         A        A         I         A 


HOW   SHALL   I   PRACTICE  ? 

CONSONANTS 


NUNCIATE  all  consonants 
distinctly,  but  rapidly,  so 
that  the  maximum  of  time  is  con- 
sumed by  the  vowel  that  precedes  or 
follows  it,  moving  your  jaws  as  little 
as  possible. 


THROATY  TONES 


C  will  be  found 
an  excellent  remedy  to 
correct  throaty  tones.  The  exercise 
is  to  be  sung  rapidly,  in  one  breath, 
and  in  all  chords  within  easy  com- 
pass of  your  voice.  Place  your  tone 
by  aiming  just  behind  the  spot  that 
your  tongue  would  touch  for  the 
consonants  L,  and  D,  as  in  la,  da, 
and  sing  : 


3°  HOW  SHAI,!,  I  PRACTICE  ? 

EXAMPLE  C. 

Vivace 


I 


Dal  pro  -  fun  -  dis        Dal  pro  -  fun  -  dis 
Vi  rav  -    vi    -    so  Vi   rav  -    vi    -    so 


f  ' 

flu" 

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sr 

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Dal  pro  -  fun  -  dis       Dal    pro  -  fun  -  dis 
Vi    rav  -    vi    -  so  Vi    rav  -    vi    -  so 


Should  the  tone  still  remain  throaty 
or  nasal,  practice  in  a  similar  manner 
with  words  like  hoot,  shoot,  wood,  shoe, 
etc.,  as  in  Example  D,  avoiding, 
however,  any  pressure  or  push  from 
the  throat,  and  closely  watching  the 
ribs  and  diaphragm.  Practice  Exam- 
ple D  repeatedly  in  the  middle  reg- 
ister, keeping  your  chin  quiet  and 
your  throat  will  remain  likewise. 


HOW  SHAI^Iv  I  PRACTICE  ? 

31 

EXAMPLE  D. 

~  Slowly                  j                       > 

"^  —  1^~3  —  i  1  1  — 

—  —  n 

I         I 

.'  2S  ^  A 

g        J       -        4 

I        I 

\[\)     **   4       *       4 

57 

Hoot-hoot-hoot 
Shoot-shoot-shoot 
Wood-  wood-  wood 

1 
\       ^       *       * 

^rl 

Hoot-hoot-hoot 
Sh  oot-shoot-shoot 
Wood-wood-wooc 

111- 

1    - 

—  a 

RAISING  THE  SOFT  PALATE 

A  NOTHER  requirement  for 
/~"Y  the  production  of  a  good 
tone  is  a  complete  control  of  the 
soft  palate,  which  should  be  well 
arched.  In  singing  high  tones,  the 
uvula  should  almost  disappear,  but, 
as  in  nose  breathing  (the  hygienic 
way)  the  soft  palate  drops,  it  is  nec- 
essary that  you  learn  how  again  to 
raise  it  before  singing. 


32  HOW  SHALL  I  PRACTICE  ? 

Stand  before  a  mirror,  breathe 
through  the  nose  (with  mouth  open) 
and  observe  the  lowering  of  the  pal- 
ate. Exhale  through  the  mouth  and 
you  will  observe  the  uvula  rise. 
Then  by  aid  of  a  hand  mirror,  with 
your  back  to  the  sunlight,  get  a 
good  focus  on  your  mouth  and  try 
to  see  the  back  wall  of  the  pharynx,  hav- 
ing accomplished  which,  you  will 
have  succeeded  in  raising  the  soft 
palate.  Then  repeat  this  experiment 
by  aid  of  will  power. 


Practicing  flexibility  of  the  soft 
palate  will  not  only  cause  it  to  do 
its  work  reliably,  but  will  make  its 
mucous  membrane  and  muscles  tense 
and  hard,  otherwise  the  vocal  sound 
will  be  dull  or  woolley. 


33 


HOW   SHAI.I,   I    PRACTICE  ? 


LARGE    TONSILS 


LONG    UVULA    I     : 


SHOULD  your  tonsils  be  too 
large  or  your  uvula  too 
long,  the  palate  will  be  weighted 
down  by  them,  and  these  studies  be 
of  no  avail.  As  well  might  you  try 
to  run  with  weights  fastened  to  your 
feet.  The  only  remedy  is  the  re- 
moval of  the  tonsils  or  reducing  of 
the  uvula,  and  since  celebrities  like 
Patti,  Lucca  Hauck  and  many  others, 
who  have  undergone  the  slight  op- 
eration, have  expressed  themselves  as 
highly  benefited  by  the  results,,  you, 
should  the  occasion  demand  it,  may 
also  vSubmit  to  the  same,  without  the 
slightest  temerity. 


34  HOW   SHAU,   I   PRACTICE  ? 

HIGH     TONES 


T- 


O  FACILITATE  your  high 
tones,  first  think  the  pitch, 
keep  the  diaphragm  down,  form  a 
long  air  column  (the  longer  the  bet- 
ter) aim  iipward,  and  let  the  tone 
float  in  the  month,  drinking  it  in, 
and  you  will  have  no  trouble.  The 
high  tones  are  often  spoiled  by  a 
forcible  stiffening  of  the  jaws.  You 
will  be  able  to  open  your  throat 
much  more  easily  with  jaws  relaxed 
than  if  they  are  too  much  stretched. 

TEETH 

-^ 
HE    teeth    should    never   be 

separated  more  than  the 
width  of  two  of  your  fingers  placed 
upon  each  other.  The  edges  of  the 
teeth  should  be  visible  and  not  con- 
cealed by  the  lips,  as  -;-the  latter 


vIv   I   PRACTICE  ? 


35 

would    of    course,     act    like    a   cushion 
and    deaden    the    sound. 

THE    TONGUE 


HE  tip  of  the  tongue  should 
be  so  flexible  that  almost 
any  syllable  can  be  pronounced  with- 
out the  aid  of  the  jaws.  With  a 
view  of  accomplishing  this,  these 
exercises  should  be  spoken  and  sung 
repeatedly  and  rapidly  in  one  tone, 
always,  however,  shaping  your  mouth 
for  the  vowel  before  pronouncing  the 
syllable. 

EXAMPLE    E. 


la    la    la    la    la 

ma      - 


110  no  no  no  no 

ra    -      -      -      - 


ro    ro    ro    ro    ro 


nay  nay  nay  nay  nay 


36  HOW   SHAUv   I   PRACTICE  ? 

Then  use  dissyllables:  any,  ever, 
eighteen,  Edward,  etc.  When  flexibil- 
ity of  the  tongue  has  been  acheived, 
it  will  not  be  difficult  to  keep  the 
tone  forward,  despite  the  interrupting 
consonants. 


TONE    COLOR 


I 


|  T  IS  a  mistake  to  accept  an 
imperative  rule  for  the  shap- 
ing of  the  mouth ;  for  instance,  that 
of  "smiling"  as  is  generally  taught. 
Its  shape  should  vary  according  to 
the  sentiment  of  the  text.  As  an 
experiment,  sing  the  words,  "my  lover 
is  dead,"  with  the  corners  of  your 
lips  well  drawn  back,  and  observe  the 
ridiculous  effect  ;  or,  with  a  very  oval 
shaped  mouth  and  well  dropped  jaws, 
sing,  "/  am  so  happy,"  and  you  will 
find  that  your  tone  belies  your  words. 


HOW   SHALL    I    PRACTICE  ? 


37 


The  cheerful  and  bright  timbre  should 
be  practiced  with  smiling  lips,  even 
when  your  face  is  turned  from  the 
listener,  and  the  sad  or  dark  timbre 
with  oval  shaped  mouth.  This  is 
called  coloring  the  sound.  If  not  well 
done,  the  words  will  sound  ineffec- 
tive, and  even  incongruous.  It  is 
therefore  highly  essential  to  under- 
stand how  to  produce  the  light  or 
dark  timbre,  as  scarcely  any  two  lines 
in  a  song  can  be  sung  with  either 
one  of  them  alone. 


For    the    dark    timbre   practice   with 
words     like     all — fall — appalling,     etc. 


For  the  light  timbre  use  :  tea  — 
rtee  —  knee  ;  or,  na  v  —  may  — fay  — 
ray,  etc. 


38  HOW    SHAI.I,    I    PRACTICE  ? 

Speak  these  syllables  repeatedly  be- 
fore a  mirror  (this  will  cause  the 
organs  of  speech  to  adjust  themselves 
naturally),  then  sing  them  just  as  you 
spoke  them. 


CHEST  TONES 


HEN  SINGING  chest 
tones,  do  not  aim  down- 
ward, as  nothing  can  be  sung  below 
the  larynx.  Aim  upward,  even  for 
low  tones,  they  merely  reverberate 
but  are  not  formed  in  the  chest.  Hold 
your  breath  and  sing  la,  la,  la.  on 


low  C,  placing  your  tone  where  the 
tongue  touches  for  the  T  in  la,  and 
you  will  hear  a  good  ringing  chest 
tone.  As  a  test,  tap  the  chest  lightly 


HOW   SHAU,   I    PRACTICK  ? 


39 


with    your  fingers  whilst  singing,    and 
you   will    feel   the   vibration. 


BREAK    IN    VOICE 


A 


"BREAK"    in    the   voice 
results    from    one   of 
three  errors  : 

1.  Forcing  the  chest  tones. 

2.  Forcing   their   range  beyond   the 
natural   limit   which    causes    a.  reaction 
on     the     first     middle     register     tones, 
making   them   sound    weak. 

3.  Permitting  the  tone  to  slip  back 
into  the  mouth  toward  the  soft  palate. 
In     fact     a      "break"      simply     means 
bad  singing  ;    a  good   remedy    and   one 
that   will    at     the    same     time   equalize 
the  chest  and  middle  register  is  example 
F.     Start   from   a  naturally   good   tone 
in    your   middle   register,    remembering 
the  place  of  touch    (so   that  where  one 


HOW  SHALIv   I   PRACTICE  ? 


tone  ceases  the  other  begins)   and  sing 
thirds,    fourths    and    fifths   descending. 


EXAMPLE   F. 

ft                               Th  irds 

/    rfx 

I 

ZC3    c\ 

1     A 

t/r  \^   \    ^ 

J      £ 

i    °  J   a 

d 

V  y          \ 

/**    ^ 

+J 

A 
E 
I 
o 
u 

A 
E 

I 
O 
U 

A            A 

I              I 
O            O 

u         r 

VN"—  ^'^^ 

A  A 
E  E 
I  I 
0  0 

r  u 

A 

E 
I 

0 

u 

Fourths 


A  A  A  A  A  A 

.    E  E  E  E  E  E 

II  II  II 

O  O  O  O  O  O 

U  U  U  U  U  U 

Repeat  with  interval  of  fifth 

With  sopranos,  the  break  mostly 
occurs  with  the  first  head  tones,  they 
should  therefore  reverse  this  study  by 
starting  on  a  good  middle  register 
tone  and  singing  the  same  exercise, 
ascending. 

To  prevent  the  k 'break"  keep  the 
throat  from  contracting,  avoid  the 


HOW   SHAIvTy    I    PRACTICE?  41 

portamento,  and  draw  up  only  a  thread 
of  air  with  more  mental  than  physical 
action. 

Play  with    vocalized  air  and   not  with 
agonized   muscles. 


EXECUTION 


N  ALL  of  these  exercises 
the  first  principle,  control 
of  breath,  should  always  be  remem- 
bered. If  you  gain  this,  and  sing 
without  any  muscular  effort,  you  will 
find  that  execution  or  flexibility  of 
voice  will  follow  without  much  labor. 
You  will  succeed  almost  mechanically. 
A  great  assistance  in  attaining  execu- 
tion will  be  found  by  singing  descend- 
ing scales  slowly,  keeping  the  sensation 
of  touch  in  your  mind,  so  that  each 
tone  is  begun  where  its  predecessor 
stopped.  But  even  when  the  scale 


42  HOW   SHAU,   I    PRACTICE  ? 

descends,  aim  upward.  Very  soon  the 
scales  will  assume  smoothness  and 
rapidity,  and  by  the  same  process,  coupled 
with  economy  of  breath,  the  trill  will 
also  be  easily  attained. 


PRESERVING   THE   VOICE 


B' 


[EWARE  OF  EXTEND- 
ING your  studies  beyond 
the  first  head  tones  upward,  or  first 
chest  tones  downward,  until  absolute 
freedom  and  purity  of  tone  is  acquired 
within  an  easy  compass  of  your  voice. 
This  precaution  will  help  to  strengthen 
and  preserve  your  vocal  organs.  The 
voice  is  very  elastic,  but  like  a  piece 
of  rubber,  when  pulled  at  both  ends, 
it  is  apt  to  snap  in  the  middle. 

The  basis  of  able  singing  is  a  good 
resonant,  and  rich  middle  register. 
Nine  tones  out  of  ten  in  almost  every 


HOW    SHAI.lv    I    PRACTICE  ? 


43 


composition  for  .soprano,  mezzo-soprano, 
and  even  for  alto  are  to  be  found 
between 


Extremely  high  tones  are  accidental 
and  incidental  to  -sopranos,  and  ex- 
tremely low  tones  are  just  as  rare  for 
contraltos.  There  is  absolute  safety, 
in  practicing  all  vocal  studies  in  the 
middle  register.  Patti  declares  that 
this  mode  of  daily  exercise  has  liberally 
contributed  toward  the  wonderful  pres- 
ervation of  her  voice.  Sopranos  should 
never  attack  a  tone  ascending,  nor 
altos  descending,  until  the  tone  preced- 
ing it  is  so  perfectly  developed,  as  to 
sound  as  if  a  half  dozen  higher  or 
lower  tones  could  be  struck.  ,  After 
having  learned  how  to  sing  the  middle 
range  with  freedom  and  perfect  ease 
(which  \vill  not  fatigue  you  in  the 


44 


HOW   SHALL    I    PRACTICE  ? 


least),  you  will  be  surprised  how 
readily  your  compass  will  increase 
from  day  to  day. 


HOW  LONG  TO  PRACTICE 


EVER  EXCEED  fifteen 
minutes  at  a  time  in  your 
practicing.  You  should  strive  to 
obtain  quality,  not  quantity.  Remem- 
ber also  that  the  vocal  organs,  during 
singing,  become  more  or  less  con- 
gested and  must  have  the  necessary 
time  to  cool  off.  The  length  of  time 
that  is  actually  consumed  by  any  of 
the  principal  singers  in  an  opera  is 
a  subject  upon  which  very  little 
thought  is  generally  bestowed.  Let 
us,  for  instance,  take  the  role  of  the 
prima  donna.  During  an  opera  of 
four  acts,  lasting  generally  three  hours, 
there  are  three  intermissions  (between 


HOW   SHAI<I,    I    PRACTICE  ? 


45 


the  acts)  none  of  them  of  less  duration 
than  from  ten  to  fifteen  minutes,  and 
even  longer  than  this  when  a  change  of 
costume,  or  (as  for  the  last  act  of 
Aida,)  a  heavy  stage  setting  is  re- 
quired. This  leaves  but  a  little  over 
two  hours  for  the  actual  performance 
of  the  entire  music.  An  opera  gen- 
erally begins  with  a  chorus,  followed 
by  solos  by  the  bass,  tenor  or  alto, 
until  finally  the  prima  donna  sings  her 
aria  that  rarely  ever  exceeds  ten  min- 
utes in  length.  Here  she  probably 
leaves  the  stage,  not  again  appearing 
until  the  next  act  to  sing,  perhaps,  in 
an  ensemble  number  or  another  aria. 
Thus,  when  properly  analysed,  the 
entire  role  of  the  prima  donna  in  any 
of  the  standard  operas  will  be  found 
not  to  exceed  forty  minutes  of  actual 
singing,  and  this  distributed  in  a 
performance  lasting  three  hours.  In 
well-organized  opera  companies  in 


46  HOW   SHAU,    I    PRACTICE  ? 

Europe,  the  prima  donna  rarely  sings 
oftener  than  three  times  in  one  week. 
Since  composers  are  so  considerate  for 
voices  in  a  well  trained  condition,  how 
much  more  careful  and  prudent  ought 
you  to  be,  \vhose  voice  is  as  yet  undevel- 
oped, and  who  are  just  beginning  to 
learn  how  to  properly  use  the  resources 
at  your  command.  Bewrare  of  rubbing 
off  the  bloom,  for  like  that  of  the  peach, 
it  can  never  be  replaced  when  once 
destroyed. 

Work  mentally  more  than  physi- 
cally. Think  every  tone  first,  then 
sing  it.  Use  your  brains  and  do  not 
sing  mechanically,  for  the  mind  is 
the  engineer  that  controls  and  directs 
the  tones.  This  is  the  way  I  would 
advise  you  to  practice. 

JULIE  ROSEWALD. 


THE  SAN    FRANCISCO   PRINTING   CO. 

JAS.     A.     PARISER,     MANAGER 
411     MARKET    STREET 


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